The latest from chillwave pioneer Ernest Greene, aka Washed Out, is a visual album for Stones Throw Records. But it doesn’t say anything new about Washed Out.
Australia’s King Gizzard have become one of indie rock’s most unlikely and glorious crossover stories of late. Their second album of 2017 pushes towards new levels of raucousness and ridiculousness.
This live album is culled from a show late in David’s Bowie’s 1974 tour. It’s heavy on material from Diamond Dogs and Aladdin Sane and finds a drug-addled Bowie in a moment of transition.
On his first album in 11 years, Compton rap veteran MC Eiht’s no-frills approach hasn’t changed one bit. Executive produced by DJ Premier, the record is a who’s who of 1990s rap.
This promising British artist is looking to find her own unique path within the world of music—but first, she’s got to move out of her parents’ house.
With the Canadian collective’s first album in seven years on the way, Kevin Drew reflects on what’s changed (technology’s unrelenting narcissism) and what hasn’t (the dependability of true companionship).
He also rates cannabis ice cream, nut milk, and pet scorpions in the latest episode of Over/Under
On her third album for Hyperdub, Laurel Halo continues to resist classification and deflect interpretation by treating the human voice like a synthetic material to be molded and shattered.
Sam Shepherd and his ensemble incorporate the vast, rocky landscape of the California desert into the very fabric of their ambient post-rock.
Colter Wall is one of country music’s most exciting young voices. His debut album is strange and stirring, rarely ever rising above a gentle rumble.
This collection of new age, which gathers tracks from a series of tapes originally issued in the 1980s, shows how instrumental textures from around the globe met early electronics.